The main idea of this work is the development of interactions, juxtapositions and derivations of concrete and synthetic material. Initially concrete, the piece begins slowly and is permeated gradually by synthetic sounds, constructed from spectral analyses and re-syntheses of previously recorded material. Gradually, the two types of sounds mix, culminating in a long section of distended sounds. This section contains the highest point of the fusion process, since it arises from the predominantly synthetic treatment of the material, which is applied to large musical gestures. Theses gestures are produced from massive sums of concrete sounds. The name of the work was inspired by the linguistic universe created by João Guimarães Rosa, and alludes to the valleys and mountains where the concrete sounds were recorded.

[source: Réseaux des arts médiatiques]

Awards

• Prize, Residency Prize, 25th Bourges International Electroacoustic Music Competition 1998, Bourges (Cher, France)